have far surpassed all the ancients, and the modern writers of other countries[1].'
This was[2] the substance of what was then spoke on that occasion; and Lisideius, I think, was going to reply, when he was prevented thus by Crites: ' I am confident,' said he, 'that the most material things that can be said have been already urged on either side; if they have not, I must beg of Lisideius that he will defer his answer till another time: for I confess I have a joint quarrel to you both, because you have concluded, without any reason given for it, that rhyme is proper for the stage. I will not dispute how ancient it hath been among us to write this way; perhaps our ancestors knew no better till Shakspeare's time. I will grant it was not altogether left by him, and that Fletcher and Ben Johnson used it frequently in their Pastorals, and sometimes in other plays. Farther,—I will not argue whether we received it originally from our own countrymen, or from the French; for that is an inquiry of as little benefit, as theirs who, in the midst of the late plague[3], were not so solicitous to provide against it, as to know whether we had it from the malignity of our own air, or by transportation from Holland. I have therefore only to affirm, that it is not allowable in serious plays; for comedies, I find you already concluding with me. To prove this, I might satisfy myself to tell you, how much in vain it is for you to strive against the stream of the people's inclination; the greatest part of which are prepossessed so much
